Here He Comes To Save The Day

09/14/2001 4:00 PM, Yahoo! Music
J. Poet

Last year, Brad Paisley's career was already on track: He'd inked a deal with Arista Nashville and charted his first number one country hit with "We Danced.". But when George Jones hailed him as the man who can save traditional country music from the Nashville machine, it put him over the top. Saving country music is a tall order, and as anyone who's ever followed the music business can tell you, it's the kind of soundbite than can create as much backlash as career momentum. But Paisley takes it in stride with a mixture of modesty, intelligence, and enthusiasm that's endeared him to both his fans and the press.

"I don't deserve that kind of praise at all," Paisley says from his Nashville home, just back from a long summer as part of the George Strait Music Festival, the Lollapalooza of country music tours. "After all, I'm not curing a disease, I'm just making records, and there are many things I can improve on. I'm challenged every day, and I still want to work hard and earn what I've been afforded. I'm aware of the fact that a lot of talented people out there will never get this chance."

Paisley's made the most of his chance. The Glendale, West Virginia native was a guitar prodigy--he had his first regular gig on WWVA's Jamboree USA at the tender age of 12--but he stayed in school and graduated from Nashville's Belmont University (business major) before tackling the music business. He landed a songwriting deal with EMI just after graduation, and when Arista heard the demo he made for one of his tunes (Alan Jackson wanted to cut it), they offered him a deal, and even let his musical partner Frank Rogers produce. "They gave us a budget and asked us to do four songs," Paisley recalls, explaining the production deal. "The first three we turned in were 'Long Sermons,' 'Who Needs Pictures,' and 'We Danced,' all of which were released as singles in those demo versions, so they knew we were on the right track and let us be. Hopefully, this will make them realize there are a lot of capable new people out there."

Nashville is currently in a state of transition, or, according to some insiders, confusion bordering on hysteria. After almost two decades of unprecedented growth, sales are flat, and nobody is expecting the next country pop sensation to do the numbers of a Shania or a Garth. Although the industry has done its best to ignore tunes like Lonesome Standard Time's "Murder On Music Row" (a scathing indictment of country music's attempt to turn its back on tradition) and the phenomenal sales of the O Brother, Where Art Thou? soundtrack, those records prove beyond a doubt that there are millions of people hungry for a more traditional sound. That may be one reason the Country Music Association gave Paisley its Horizon Award last year.

"I love any and all situations where you celebrate creativity," Paisley says, downplaying his own accomplishments. "When they say you're the best, I always remember that the majority of the audience probably thinks someone else should have gotten the award. I think if you're really on top, you probably didn't do that great, 'cause you have to water it down a bit for it to get that mass appeal.

"But formats always go through changes," he continues. "We are in a time of transition, and no one knows what'll shake out from this. And while my sound may be traditional, I'm not doing beer-drinkin', wife-cheatin', honky-tonk songs. The subject matter is fairly mainstream, even if it is done in a traditional style."

One thing that sets Paisley apart from his contemporaries is his love of traditional country music; even in grammar school he listened more to Ricky Skaggs and Hank Williams than the latest pop hits.

"I've heard my share of Van Halen, mostly on the tapedeck in the cars of my high school buddies, but I never liked rock. My folks and grandfolks listened to country, and that's what always attracted me. I'm sure there are a few things in my CD collection that might surprise people. I like classical music, the blues, and I'm a big fan of alternative rock, but when it comes to my music, I do what I do best, which is country."

With his square chin, boyish smile, and cowboy hat, Paisley looks like he could have been sent over from Central Casting to play the role of country music savior, but his guitar prowess--he's included an impressive instrumental track on both his albums, Who Needs Pictures and this year's Part II--passionate singing, and kickass band let people know that he's more than just another pretty face. He also writes or co-writes most of his material, which stamps his albums with his own individual vision.

"If I get an idea for a song, I have a melody for it. I'm a musician first, so I'm not limited by the fretboard. I like to look at the songs like they're little movies. I don't stare at a sheet of paper and try to think of a good word to use. I try to see where the story should go. I've always liked ballads and story songs--Tom T. Hall is a big favorite of mine--songs that can move you from A to B.

"Musically, I think in terms of a melody that sounds like something new. Nobody's told me yet that my tunes sound familiar, and I know enough licks to know which ones to avoid. If a melody sounds familiar, it doesn't matter if it reminds me of mine or someone else's--I know enough musical theory to head to another place."

Another thing that sets Paisley apart from the pack is his sense of humor. The financial bonanza of the past few years has made many people in Nashville start taking themselves much too seriously.

"Two of my biggest heroes as songwriters are Roger Miller and Buck Owens,' Paisley says. "They wrote about the problems we all face, and presented it in a true-to-life fashion, but there was always an amusing turn of phrase or a chuckle, even if the humor was self-effacing. So even on the most serious ballads, I'll throw in a tongue-in-cheek remark. I think that's just the way people are: Even in your darkest moments, you'll think of something that'll crack you up."